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Description
Nigara "Anmon" Aogami #2 Rainbow Damascus 240mm Gyuto with Rosewood Triple-Ginmaki HandleThe Nigara "Anmon" Aogami #2 Rainbow Damascus 240mm Gyuto is a masterpiece of craftsmanship. Featuring a stunning rainbow damascus pattern, the blade is forged from Aogami #2 steel, offering excellent sharpness and edge retention. The rosewood handle, with triple ginmaki rings, provides both comfort and durability. This knife blends beauty and performance, making it a standout in any kitchen. Spec: Origin (Made in): Hirosaki, Aomori Prefecture, Japan
The Nigara "Anmon" Aogami #2 Rainbow Damascus 240mm Gyuto is a masterpiece of craftsmanship. Featuring a stunning rainbow damascus pattern, the blade is forged from Aogami #2 steel, offering excellent sharpness and edge retention. The rosewood handle, with triple-ginmaki rings, provides both comfort and durability. This knife blends beauty and performance, making it a standout in any kitchen.
Spec:
- Origin (Made in): Hirosaki, Aomori Prefecture, Japan
- Brand: Nigara Hamono
- Craftsman: Tsuyoshi Yoshizawa (吉澤 剛)
- Knife Type: Gyuto
- Blade
- Construction: San Mai
- Grind: Double-edged Blade (50/50 Grind)
- Hagane (Core Steel): Aogami #2 (Blue #2)
- Jigane (Cladding): Stainless Steel
- Hardness: 63-64 HRC
- Hand-forged, hand-ground, hand-sharpened
- Blade Finishes:
- Rainbow Damascus ("Anmon" Pattern)
- Mirror Polish
- Blade Length: 240mm (9.4")
- Blade Height (at heel): 52mm
- Spine Thickness
- Above heel: 3.2mm
- Middle: 2.2mm
- Handle
- Premium Luxury Custom Handle
- Shape: Hachikaku (Octagonal)
- Material: Rosewood (Dalbergia Odorifera)
- Kuchiwa / Tsukajiri: Marble Buffalo Horn
- Divider: Rosewood (Dalbergia Odorifera)
- Ginmaki: Nickel Copper (x3)
- Length: 143mm
- Overall Length: 391mm
- Weight: 220g (7.76oz)
- Engraved Mark: In Japanese Kanji "Nigara Made" (二唐作)
About Nigara Hamono 二唐刃物
With 350 years of history, starting from making swords for Tsugaru clan in the early Edo period, Nigara Hamono has passed down knowhow and skills for eight generations. Its 5th generation blacksmith Kunitoshi Nigara was a legendary sword maker, earning a long list of accolades, honorary titles and knighthood. The current (8th) generation blacksmith — Tsuyoshi Yoshizawa is supported by his father Toshiju Yoshizawa who has keen interests in art and music. Nigara’s famous Anmon design is the result of Toshiju’s love for Andy Warhol’s artworks. The family business’ expansion into construction steelworks has given Nigara unmatched access to in-house knowhow when it comes to advanced finishing. All these set Nigara apart as one of the most special knife makers in Japan.
Care:
Aogami #2 (Blue #2) steel is a premium Japanese high carbon steel for knife making. It is not stainless, therefore you must wipe your knife dry after each use, in particular the core steel not covered by the stainless cladding. Patina will develop over time, which will appear as “discoloration” on the cutting edge, but that is the nature of carbon steel - not a defect. The stainless cladding covers a large part of the blade, making maintenance easier but still preserving the cutting and sharpening pleasure of the Aogami #2 core. Avoid cutting into bones, frozen foods, hard fruit pits.
Cutting Surface:
Recommended cutting surface: wood, rubberized boards and high-end composites, and quality plastics such as polyethene make acceptable cutting surfaces, and will help protect and prolong knife’s edge. AVOID glass, metal, countertops, and other rigid, non-forgiving surfaces.
Sharpening:
We recommend sharpening all quality Japanese knives on whetstones, as we believe they yield the best results for your knives.
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4.4 ★★★★★
Based on 10 reviews
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Product Reviews
★★★★★ 3
"The devil knows why. . ."
I have mentioned before in a distant review of the past that each book has a "moment of truth," that shimmering macrosecond where the reader either becomes hooked (and therefore can't wait to finish the work), or disappointed (whereby the book is either put aside, or finished grudgingly). For me, alas, Bulgakov's THE MASTER AND MARGARITA evoked the latter, although I finished the book and readily appreciated the author's rather fantastic and satirical story of Satan and his pesky retinue wreaking havoc in 1930s Moscow.
That Mikhail Bulgakov is an exceptional writer is a given; if only I was fluid in Russian where I could read his words as written I would no doubt be even more impressed with his prose and style. This Vintage Press edition (translated by Diana Burgin and Katherine Tiernan O'Connor) certainly pays homage to this classic with a meticulous eye for detail, followed by notes on each chapter that I found to be invaluable. So then, what's the problem?
Well, I enjoy humor and satire as much as the next guy (I suppose), but a story depicting Satan as some sort of instrument of salvation--an instrument in alliance with Yeshua--for the book's two protagonists was just. . .too much. The Master, a writer who cannot endure the pain of rejection, is one-dimensional and sullen, while Margarita, his love, becomes a willing pawn of the devil. And the story blithely suggests that death through its mortal release is preferable to life (which is understandable, given Bulgakov's failing health as he finished the book). The fantastic notion of the story--of illusion, madness, a huge talking cat, flying through the air, and a Satanic ball--is a clever device, but eventually it wears thin.
As a playwright, Bulgakov uses an abundance of theater officers, bureaucrats, and authors as unhappy victims of Satan's antics (no doubt the author was settling countless scores); unfortunately, the names of these characters are in Russian, and many of the names vary by a vowel or a letter, making it very difficult for the reader to keep track of "who's who." And the parallel story of Pontius Pilate and the crucifixion--told from a political, not spiritual, perspective--was interesting, yet bizarre. In fact, "bizarre" is a good word to describe THE MASTER AND MARGARITA in its entirety; it's an interesting, fantastic, metaphysical tale, yet requires too much suspension of disbelief.
--D. Mikels
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Reviewed in the United States on May 24, 2004
★★★★★ 5
If you read rarely, or all the time, don't miss this! (It's easy to do)
This is simply one of the best works of literature, allegory, and even poetry, ever put together. It took decades for Mikhail Bulgakov to write this actually, and over the past century, his Faustian flavored tale about the nature of people and the power religion vs. the state vs. the devil knows.... has become a cult classic in Russia. Note that this is pure Bulgakov (as author) and this listing names one of the 2 wonderful translators who collaborated on getting the flavor of the language just right. They make it clear that this was a total collaboration of expert translators. At the end they offer additional notes about some of the details and finer points of history or the Russian language. There are also some additional passages included for the first time, which the earlier translation omitted.
I read this when it was first translated (80s?) and a college friend who had escaped from Communism insisted I read this. It was great then, as literature, human drama, and superb writing. Bulgakov amassed a huge following once his work was actually published, after his death. Some of his work is only now being published and read. I recently found myself in front of Flat #50, near Patriarchs Ponds (Moscow), the setting where the first part of this addictive novel begins. Berlioz (in the guise of literary czar, not the famous composer) is arguing with a poet about the existence of G-d when interrupted by, who the devil knows, but soon it is clear that literary and bureaucratic Moscow have become friends to the devil. Mr. Woland and his interesting entourage are about to put on a show at the theater, promising to be magical.
Great book. Like other great Russian *stories*, this captures human nature, anguish, curiosity and the variations in the rules of right/wrong, possible/impossible. It's quite a ride through the supernatural as well as theological and even medical., If you immerse yourself in it, you'll see many foreshadows of Harry Potter magic. Serious must read, for the adventure, mystery, the Faustian morality play, which takes pokes at both religion and "civil" humankind. A#1 recommend - and it may help to understand Russian (and human) psychology, and how we use words to invent smoke, mirrors, and fables which mirror life and death and love.
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Reviewed in the United States on July 16, 2014
★★★★★ 5
A masterpiece at several levels
This amazing book can be interpreted at several levels or just read for the sheer enjoyment of the bazaar antics of all the characters. I found it to be full of profound concepts wrapped in a chaotic and fantastic romp of a good story.
First, I thought the story was a tale of revenge. Bulgakov was highly discriminated against and his work suppressed throughout his career and life. A genius' work is smothered by Soviet brainless censors while a literaray elite develops composed of talentless writers and editors who only push the Communist Party line. Bulgakov has these nit-wits become the play-toys of the Devil in a story of hilarious dark comedy. Bulgakov never got revenge against the system that impoverished him until after his death when readers laugh at the incredible uncomfortable situations the Devil creates for the Moscow talentless literary elite.
Second, the tale is a satiric critique of the Soviet system under Stalin. Many Soviet methods of social control, such as apartment assignments by the state, set the stage for wild adventures for Soviet citizens caught in this overly centralized society. The chapter on the Soviet authorities trying to take over the apartment of the be-headed editor from the Devil and his assistants is some of the most clever satire ever written. The magic shows performed by the Devil in a state-owned theater was a perfect commentary on the weaknesses of the Soviet system.
Third, the novel is a superb essay on the killing of God as a political act. The Devil is delighted to come to the Soviet Union where belief in God is under attack and atheists rise to positions of power and status. The Soviets tried to kill God to better control their citizens. The genius of this book is that Bulgakov tells us the tale of Pontius Pilot and the High Priest of Jerusalem playing a careful came of strategy with the life of Jesus Christ. Both men had reasons to kill Jesus so that they could both maintain political power. But these two men are wise and they wish for the other party to take the blame for the crucifiction. Since Jewish law did not allow for the death penalty, the High Priest must manipulate Pilot to give the orders. However Pilot uses spys and murderers to cast blame back on the Jewish leadership by murdering Judas and throwing thirty silver pieces into the home of the High Priest. God must always be killed/maimed/distorted for a totalitarian government to maintain control. Suppression of God doesn't simultaneously suppress the Devil.
Fourth, the events related in the story are extremely fun to read. The encounter with the Devil in the public park, the scenes in the dead editor's apartment, the magic show, the insane assylum, the Devil's ball, the flashbacks to Jerusalem, all will stick in your mind for days after you finish the book.
This novel was finally released after Bulgakov had been dead for 30 years. The Devil in the story predicts this future when he says: "Manuscripts don't burn."
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Reviewed in the United States on February 5, 2005
★★★★★ 5
I Really Enjoyed This
Format: Paperback
I really enjoyed this book. The story is coordinated with Star Wars Vol. 8 Mutiny on Mon Cala and Star Wars Vol. 9 Hope Dies. It is not necessary, but to get a more rich, fuller story, you'll want to read this book first then switch over to those two Star Wars main series volumes.
I'm giving this review 5 Stars, but I have to say that I wavered on docking it by one star. I'm not crazy about the art. And, although the story is excellent (and as much as I love a good Vader story), I didn't enjoy it as much as I did those two Star Wars volumes I mentioned above; Volumes 8 & 9, Mutiny at Mon Cala and Hope Dies. Those books are top notch excellent. This book, I'd say, is a notch down, at very, very good.
Read it and see what you think. As a whole, I like how Marvel is filling out the years between the original trilogy movies with these stories. This story about the Battle of Mon Cala, over two different series, is fantastic.
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Reviewed in the United States on April 27, 2019
★★★★★ 5
A great volume with great Tarkin/Vader relationships
Format: Paperback
I am continuing to enjoy this ongoing series showing Darth Vader shortly after Episode 3. It's cool seeing Mon Cala prior to Imperial control. I like how there's a bit of a tie-in with the ongoing Star Wars comic series. There are also flashbacks to the Clone Wars era.
I like this time period. Each jedi that evaded Order 66 is dealing with the new world in a different way. I also really enjoyed seeing a young Ackbar.
There are two standalone issues included in this volume. First, there's a story that shows the relationship between Darth Vader and Tarkin developing into what we see in the original trilogy.
The other is an Annual written by Chuck Wendig. This shows another interesting Vader/Tarkin dynamic. There are a bunch of great references that I love in this issue! Project Stardust. Geonosis. Krennic. Galen Erso. Overall, it's a really cool tie-in to Rogue One.
Yet again, I give this volume of the ongoing Darth Vader: Dark Lord of the Sith a 5/5.
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Reviewed in the United States on September 19, 2018